ki de ga e g ade 8 m ic · 2013-01-23 · essential learning areas and general learning outcomes...

VALUING MUSICAL EXPERIENCE

MUSIC LANGUAGE AND PERFORMANCE SKILLS

UNDERSTANDING MUSIC IN CONTEXT

MAKING MUSIC

CREATIVE EXPRESSION IN MUSIC

Kindergarten to Grade 8 Music

Manitoba Curriculum Framework of Outcomes

T i t l e P a g e n I n t r o d u c t i o n n O v e r v i e w n C o m p o n e n t s a n d O r g a n i z a t i o n n S L O s n A p p e n d i c e s n G l o s s a r y n B i b l i o g r a p h y

I N T R O d u C T I O N


Purpose

Kindergarten to Grade 8 Music: Manitoba Curriculum

Framework of Outcomes (the Music Framework) provides

the basis for learning, teaching, and assessment of music in

Manitoba schools. The Music Framework describes the

learning outcomes for music education and provides a basis

for the development of curriculum implementation resources

for Kindergarten to Grade 8 music. It is intended to assist

teachers, administrators, and partners in education with

implementing the music curriculum and with planning

professional learning.

This document provides background information and

implementation guidelines pertaining to music education. It

presents an overview of the Music Framework, outlines the

document components and organization, and identifies the

four essential learning areas and the general and specific

learning outcomes for Kindergarten to Grade 8 music in

Manitoba.

Background

In 2003, Manitoba Education developed a draft position

statement on The Arts in Education (Manitoba Education and

Youth) as an initial step in renewing provincial curricula for

the arts. In preparing this statement, the arts educators who

comprised the project team drew on current research in arts

education and reviewed arts curricula from Canadian and

international jurisdictions. The draft statement was distributed

to education stakeholders, along with an invitation to provide

feedback about the proposed direction for curriculum

renewal. Responses provided by classroom teachers, school

administrators, arts specialists, arts education organizations,

trustees, parents, and post-secondary faculty were published

in 2004 in Responses to The Arts in Education Survey:

Summary Report (Manitoba Education, Citizenship and

Youth). Responses to The Arts in Education position

statement were overwhelmingly positive and guided

subsequent curriculum development of arts curricula in

Manitoba.

In January 2011, the Western and Northern Canadian

Protocol for Collaboration in Education, Kindergarten to

Grade 12 (WNCP) prepared Guiding Principles for WNCP

Curriculum Framework Projects in response to the significant

changes in the ways people live and work in today’s world.

The Music Framework reflects the WNCP guiding principles

that are required to meet the needs of today’s creative

economies and knowledge-based societies.

In addition, the Music Framework draws on Manitoba

curriculum and support documents in various subject areas,

including Kindergarten to Grade 12 Aboriginal Languages

and Cultures: Manitoba Curriculum Framework of Outcomes

(Manitoba Education, Citizenship and Youth) and Education

for a Sustainable Future: A Resource for Curriculum

Developers, Teachers, and Administrators (Manitoba

Education and Training). Arts education, including music

education, is important for preserving and nurturing human

culture and heritage and necessary for human health and

social well-being. Human health and social well-being and a

sustainable environment and economy are essential and

integrated components of an equitable quality of life and a

sustainable future for all Canadians. Education for a

Sustainable Future highlights community and culture, the

economic viability of arts and cultural enterprises, and the

preservation of heritage and culture as crucial sustainability

issues and concepts.

Implementation

In Manitoba, arts education is compulsory for Grades 1 to 8.

The minimum recommended time allotments for arts

education in Grades 1 to 8 are as follows:

n Grades 1 to 6: 10 percent of instructional time

n Grades 7 and 8: 8 percent of instructional time

Manitoba offers a distinct framework for each of the four arts

education disciplines: music, dance, drama, and visual arts.

Although there are common areas of learning in the four arts

disciplines, each discipline is distinct and requires unique

language, tools, skills, techniques, knowledge, and learning

outcomes.

The offering of four arts frameworks provides resources for

rich, comprehensive, and diverse meaning making and ways

of communicating through the unique literacies of music,

dance, drama, and visual arts. Because the individual arts

represent distinct ways of knowing, each of the arts makes a

significant contribution to students’ learning and

development. Learning is achieved through the variety of

methods and media inherent in a specific arts discipline.

Each arts framework encompasses a variety of recognized

strands or options possible for each arts discipline in the

Kindergarten to Grade 8 context. For example, the Music

Framework is inclusive of possibilities such as general music,

band, choir, guitar, jazz band, strings, fiddling, and so on.

Manitoba schools may offer one or more individual arts

disciplines (music, dance, drama, and/or visual arts). Schools

have the flexibility to choose the number and combination of

arts disciplines appropriate for their local context, resources,

and needs. The number of arts disciplines offered in a school

will depend upon available resources, allocated instructional

time, staffing, and the arts implementation approach used in

the school.

Educators can use a wide variety of approaches and

resources for implementing arts education. For example,

schools may offer arts disciplines individually as a stand-

alone model, arts disciplines in combination with each other,

and/or arts disciplines integrated with other subject areas.

Curriculum integration reinforces meaningful connections

within and across disciplines. The arts enrich and are

enriched by each other and other subject areas by affording

new and deeper insights and a greater range of possibilities

for communicating experience and meaning. When true

integration occurs, no individual subject area is used solely to

support learning in other subjects.

Educators are encouraged to integrate arts learning

outcomes with other subject areas where meaningful and

appropriate, while maintaining focus on student achievement

of the arts learning outcomes. Each arts framework is

considered fully implemented only if all four essential

learning areas for any one arts discipline are explored in

comprehensive, substantial, and interconnected ways.

To teach any of the four arts disciplines effectively, teachers

need the appropriate knowledge and skills, which can be

acquired in various ways, including specialist education, pre-

service and in-service education, and other professional

learning opportunities.

Content

The Music Framework contains the following components:

n Introduction: The introduction addresses the purpose of,

background to, and implementation guidelines for music

education in Manitoba schools from Kindergarten to

Grade 8, as well as outlining the content of this

document.

n Overview of the Music Framework: The overview

focuses on the landscape of music, the nature of the

music discipline, and the rationale for music education. It

also discusses learning in music, describing the learning

process, highlighting the transformative learning potential

of music education, and outlining the guiding principles

for learning in music.

n Music Framework Components and Organization:

This section explains the use of the butterfly image as a

metaphor for learning and as a graphic organizer for the

distinct and interconnected parts of the music curriculum.

The body of the butterfly is shown to represent the

developing music maker at the centre, with each of the

four wings representing one of four interconnected

essential learning areas. The ways in which the wings

work together and individually to organize and integrate

the general and specific learning outcomes of the music

curriculum are also discussed. The essential learning

areas and the general learning outcomes are presented

in this section, along with a guide to reading these

elements and the specific learning outcomes.

n Kindergarten to Grade 8 Music: Student Learning

Outcomes: In this section of the Music Framework, the

general learning outcomes (GLOs) and the specific

learning outcomes (SLOs) that students are expected to

achieve in the music curriculum from Kindergarten to

Grade 8 are organized into four essential learning areas.

Each essential learning area begins with a statement of

the overall learning intent of the area or wing, followed by

the GLOs addressed within that area. The SLOs that

relate to the respective GLOs are presented on facing

pages, with the Kindergarten to Grade 4 SLOs presented

on the left page and the Grades 5 to 8 SLOs presented

on the right page.

n Appendices: The appendices provide developmentally

appropriate supports related to key concepts addressed

in some SLOs.

n Glossary: Specific terms used within the music discipline

are defined in the glossary.

n Bibliography: The resources used in the development of

this document are cited in the bibliography.

O v E r v I E W O F T h E M u S I C F r A M E W O r k


The Learning

Process

The Transformative Learning

Potential of Music Education

Guiding Principles for

Learning in Music

Guiding Principles

(continued)

The Landscape of Music

The Manitoba Music Framework is conceived as a full

landscape of knowledge where educators and students meet

in the work of active, embodied music learning. Educators

and students are invited into the living field of music

education through a curriculum designed to place students in

the dynamic, complex, working culture of music. The Music

Framework is built using four interrelated essential learning

areas, connected to the student music maker at the core.

Way-finding through the music environment is provided by

connected sets of general and specific learning outcomes for

the essential learning areas.

“Curricula for today’s world use ecological metaphors”

(WNCP 6) to convey the notion that knowledge is dynamic

and always in the process of being constructed. Curriculum

frameworks are conceived as complex, organic networks

organized into living fields or landscapes, rather than as

fragmented pieces of knowledge pieced together in a linear

fashion. Learning in the landscape of music means learning

the complexities and ways of the discipline while learning

how to do in the discipline. Learning the landscape of music,

or coming to know and do in the discipline, means the ability

to enter into, learn the way around, participate fully in, and

make a contribution to the culture of music (WNCP).

Music learning is understood to be a journey into the

landscape of music education. The Music Framework

provides multiple locations for students to enter and continue

lifelong transformative travels in the music landscape.

Students may have various trajectories through a music

landscape that creates “a unique point of view, a location

with specific possibilities for enhancing the learning capability

of [their] sphere of participation” (Wenger 197). Each

student’s unique identity, and the individual perspective it

offers, is a gift to the world (Wenger 197).

The Nature of the Music Discipline

Music enriches a vibrant culture and is integral to human life.

It has the power to illuminate, deepen, broaden, and

enhance human experience. Music and musicians have an

impact on daily experience, help define and express

individual and collective identities, and shape, reflect, and

comment upon societal and cultural values.

Music is a multimodal, cross-cultural literacy and expressive

art form. The ways of knowing through music include

cognitive, physical, affective, intuitive, and spiritual modes.

Music embodies and expresses ideas, feelings, and

meaning. It communicates within and across cultural,

societal, historical, and even pre-historical contexts.

Throughout history, music has played a significant role in

human life, cultivating and passing on culture, recording

civilization, and affecting and influencing society. Music is

vital to human life; no culture in the world exists without

music. Music contributes to personal, social, economic,

cultural, and civic aspects of people’s lives. In cultures

around the world, life’s most important events—weddings,

funerals, birthdays, graduations, religious holidays, and

community occasions—are observed and celebrated through

music.

Rationale for Music Education

Music is a vital part of every student’s education and

contributes to deep and enduring student engagement that

leads to learning success. Music education develops unique,

powerful, and multiple ways of perceiving, interpreting,

knowing, representing, and communicating understandings

about self and the world. Through music experiences,

students have opportunities to think creatively, explore ideas

and feelings, and develop emerging personal, cultural, and

social identities.

The social act of music making generates synergy and

provides unique opportunities for students to be part of

collaborative and diverse knowledge building. Learning

music enables students to explore ambiguity, to think

imaginatively, innovatively, and with flexibility and empathy,

and to feel confident with uncertainty and risk. Music

education promotes open-ended, critical, divergent, and

dialogic thinking and encourages understanding and feeling

mediated through body, mind, and senses.

Music helps students to appreciate and connect with others

past and present, as well as to understand and celebrate

their own distinctiveness. Mind, body, and spirit interact

through music to engage students profoundly as they seek

meaning in the world around them. Through music, students

are empowered with the creative energies and sense of

agency that are needed to consider diverse views and

transform thinking and possibilities. Music has the potential

to promote responsibility and leadership and to prepare and

inspire future citizens of the world to understand and address

the most critical challenges of their times.

Learning in Music

Current research, theory, and practice give direction for

quality music education within the music landscape. Quality

music education, informed by guiding principles and current

understandings of how students learn, has the potential to

transform learning in powerful ways.

The Learning Process

Learning is an active, embodied, and social process of

constructing meaning. It is shaped by the dynamic interaction

of students’ prior knowledge and new experiences. Students

construct unique understandings in many different ways,

depending on their interests, experiences, and learning

styles, and on personal, social, and cultural factors. Students

are motivated to become engaged learners when learning

has personal and relevant meaning for them and when they

have opportunities to reflect on and guide their own learning.

In the school environment, learning occurs simultaneously

across and between multiple nested levels that include

individual and collective learners, educators, and schools,

curriculum structures, artistic and cultural communities, and

disciplinary knowledge (Davis and Sumara 91). Individual,

personal knowing is enfolded in and unfolded from collective

knowing and activity (Davis and Sumara 65).

The Transformative Learning Potential of Music

Education

Learning in the arts, including music, has the potential to

foster transformative learning. Transformative learning

(Mezirow, “Transformative Learning as Discourse” 58)

involves the acquisition of new knowledge and skills and the

building of competence and confidence to use disorienting

experiences and learning in the exploration of new

perspectives, roles, and relationships that enable people to

move to courses of action (Mezirow, “Transformative

Learning Theory” 19). Affective ways of knowing are

significant for transformative educational experiences (Taylor

10) that challenge and change the ways people view the

world. Affective ways of knowing are essential to the critical

reflection necessary for transformative learning (Taylor 10).

The affective, embodied, and authentic ways of knowing

afforded by music education provide “alternative ways of

knowing and being” (Butterwick and Lawrence 36) that

create multiple opportunities for transformative change.

Arts-based processes have powerful transformative potential

“because they tap into embodied knowing, honor emotions,

and create spaces for rehearsal for action . . . . and

imagining of alternative realities” (Butterwick and Lawrence

44).

Guiding Principles for Learning in Music

The following guiding principles for learning in music are

based on current thinking in curriculum development.

Music is understood to be

n an expressive art form

n an active, embodied, living discipline

n a form of literacy with a unique set of tools and language,

multimodal processes, skills, knowledge, and forms

Quality music education

n affords a diverse and broad range of music and music

experiences, participatory approaches, and ways of

thinking about, learning, interpreting, and representing

music

n integrates the four networked essential learning areas to

develop concepts and skills with meaning, coherence,

depth, and competency

n focuses on essential questions of why music learning is

important, what understandings and meanings the music

tools and language can communicate, what music can

reveal about culture and identity, and what purpose and

meaning music has for individuals and communities

n builds on prior music learning in a reflective, recursive

process so that new possibilities emerge and new

understandings, patterns, and relationships grow deeper,

richer, and more sophisticated and complex over time

and through experience

n is sufficiently substantive to generate deep conceptual

understanding and learning “that enables learners to

make connections, reason, innovate, problem solve,

critique and create” (WNCP 4)

n engages and motivates students intrinsically and deeply

in relevant, authentic, personal ways—bodily,

intellectually, and aesthetically

n invites and promotes opportunities for transformative

learning and living

Quality learning in music

n occurs across and between nested levels that include the

individual and the collective learner (Davis and Sumara

90–91)

n connects meaningfully and dynamically to learning across

subject areas and the wider local and global music,

artistic, and cultural communities

n includes opportunities to explore creativity, imagination,

risk taking, flexibility, ambiguity, uncertainty, and student

choice

n includes collaborative, diverse knowledge-building as it

works in the world (WNCP 9)

The learning environment

n provides students with opportunities to inquire, engage in

learning conversations, question, dialogue, analyze,

interpret, reflect, evaluate, construct, and share meaning

through multiple perspectives

n values student voice as essential for establishing

individual and collaborative directions for music inquiry

and learning, developing learning goals, making

decisions, and building criteria for learning and

assessment

n respects and values the diversity of students and their

ways of coming to know within the learning community

(WNCP 9)

n ensures that ongoing assessment as and for learning is

central to all music learning to enable learners and

educators to observe, give and receive feedback, revise,

refine, plan, and effectively promote and achieve growth

in music

n provides students with multiple and various ways to

demonstrate understanding and achievement of music

learning outcomes

M U S I C F r A M E W O r K C O M P O N E N T S A N d O r G A N I z A T I O N


The Centre of

the Butterfly

The Wings

Working Together

The Wings

Individually

The Music Framework Butterfly

The Manitoba Music Framework philosophy, essential

learning areas, and learning outcomes are represented

graphically and metaphorically by the image of a butterfly.

As a graphic organizer, the butterfly image forms a diagram

comprising five distinct and interconnected parts: the four

wings that each connect to the fifth part, the main body in the

centre. Each of the wings represents one of four essential

learning areas into which the learning outcomes of the Music

Framework have been classified. The central area or “body”

of the butterfly, the part to which all the wings connect,

represents the student as a developing musician.

The butterfly image promotes the belief, integral to the Music

Framework, that every student’s growth as a musician and a

music-literate person can be realized through ongoing

learning experiences that connect creative music activities,

technical knowledge and skill development, the building and

broadening of cultural and historical understandings related

to art and life, and ongoing reflective and critical thinking

opportunities that focus on music and personalized learning.

The butterfly also functions as a metaphor for music and

music education, alluding to transformation, self-

actualization, visual beauty, and resilience. The butterfly

image may stimulate many other associations by those who

encounter this Music Framework; such generative thinking is

fitting for a framework intended as an impetus to creative and

personalized learning.

The Centre of the Butterfly

The words Making Music at the centre of the music butterfly

underscore the active, participatory nature of music

education and emphasize the following ideas and

relationships:

n The overarching goal of the music curriculum is to

support, nurture, and inspire the growth of every student

as a music maker. Music making is valued as an

individual and a collective experience.

n Every student is a music maker, one whose growth and

learning are best realized within rich, meaningful, hands-

on music-making experiences. In becoming young

musicians, students learn to sing, play, analyze, and

listen to the music of a variety of places, times, and

peoples. Students improvise, arrange, and compose

music as they make sense of their worlds and the worlds

around them. As increasingly reflective and artistic music

makers, students gain skills, understandings, and

attitudes that enrich them in many ways, enabling and

inspiring them to continue making music and

communicating through music for the rest of their lives.

n Every student is a creator and composer. Students must

be given opportunities to tap into their creative capacities

and express themselves through the creation and sharing

of their own music. As they become capable of

generating and developing ideas in the process of music

creation, students learn to think with flexibility and

imagination.

As increasingly capable and passionate music makers,

students journey toward becoming creative, musically literate

adults and citizens who will truly enrich their own lives and

the lives of their future communities.

Making Music

The Wings Working Together

When the centre of the music butterfly connects with the four

wings, new relationships emerge. Each wing represents one

of the essential learning areas into which the general and

specific music learning outcomes are organized. While the

body of the butterfly evokes a holistic view of the student as

a young music maker, the wings working together articulate a

range of learning outcomes that collectively support a path to

comprehensive, balanced, and developmentally appropriate

learning in music.

In the Music Framework, the essential learning areas are

n Music Language and Performance Skills

n Creative Expression in Music

n Understanding Music in Context

n Valuing Musical Experience

Although each of the four essential learning areas presents a

distinct set of learning outcomes, their achievement is not

intended to be realized in isolation. Just as real wings work

synchronously with each other, so the essential learning

areas are intended to function in an integrated way. Rich

music experiences invariably integrate learning

outcomes from the four essential learning areas. Music

tools and language are connected to how they may be used

to create music, what understandings the tools and language

can communicate, why music is important, and what purpose

and meaning music has for individuals and communities.

Knowing in the landscape of music requires a network of

connections linking the individual’s location in the landscape

to the larger space (WNCP 20).

The Wings Individually

The organization of learning

outcomes into distinct, interrelated

learning areas, or wings, is intended

to give a clear outline of the

knowledge, skills, and attitudes

students are expected to demonstrate in music at various

grades. Each of the four essential learning areas contains

the following components:

n Essential learning area: Each essential learning area

begins with a statement of the overall learning intent of

the area or wing.

n General learning outcomes (GLOs): The GLOs are

broad statements that identify the knowledge, skills, and

attitudes that students are expected to demonstrate with

increasing competence and confidence from

Kindergarten to Grade 8.

n Specific learning outcomes (SLOs): The SLOs detail

learning expectations for students at either a specific

grade or a range of grades.

For some SLOs, connections to key concepts are provided in

the appendices. These connections offer background in the

form of developmentally appropriate content related to the

SLOs.

Essential Learning Areas and General Learning Outcomes

The Music Framework identifies the following four essential learning areas, along with a statement summarizing the overall

learning intent of each area. The general learning outcomes that relate to the four essential learning areas (L, C, U, and V) in the

Music (M) Framework, are identified within each essential learning area below.

M U S I C F r a M e W o r k C o M p o n e n T S a n d o r g a n I z a T I o n

CREATIVE EXPRESSION IN MUSIC

VALUING MUSICAL EXPERIENCE

MUSIC LANGUAGE AND PERFORMANCE SKILLS

UNDERSTANDING MUSIC IN CONTEXT

MAKING MUSIC


The Centre of

the Butterfly

The Wings

Working TogetherThe Wings

Individually

Music Language and Performance Skills (L)

Students develop understanding of and facility with elements, concepts, and techniques for making music.

M–L1 Students develop skills for making music individually and as part of an ensemble.

M–L2 Students develop skills for making music through aural, written, and visual music systems.

M–L3 Students demonstrate understanding of and facility with rhythm, melody, texture, and harmony in a variety of musical

contexts.

M–L4 Students demonstrate understanding of expression, timbre, and form in a variety of musical contexts.

Creative Expression in Music (C)

Students collaboratively and individually generate, develop, and communicate ideas in creating original and interpretive music for

a variety of purposes and audiences.

M–C1 Students generate and use ideas from a variety of sources for creating music.

M–C2 Students develop ideas in music, creatively integrating music elements, techniques, and compositional tools.

M–C3 Students interpret, perform, and share their own and others’ music.

Understanding Music in Context (U)

Students connect music to contexts of time, place, and community, and develop understanding of how music reflects and

influences culture and identity.

M–U1 Students experience and develop awareness of music from various times, places, social groups, and cultures.

M–U2 Students experience and develop awareness of a variety of music genres, styles, and traditions.

M–U3 Students demonstrate understanding of the roles, purposes, and meanings of music in the lives of individuals and in

communities.

Valuing Musical Experience (V)

Students analyze, reflect on, and construct meaning in response to their own and others’ music.

M–V1 Students demonstrate interest, curiosity, and engagement while making and experiencing music in a variety of contexts.

M–V2 Students analyze their own and others’ musical excerpts, works, and performances.

M–V3 Students form personal responses to and construct meaning from their own and others’ music.

M–V4 Students assess their learning in performing, creating, and experiencing music.

Music Language and Performance Skills

DEVELOP YOUR MUSIC “TOOLBOX” . . .

Students develop understanding of and facility with elements, concepts, andtechniques for making music.

GENERAL LEARNING OUTCOMES

M–L1 M–L2 M–L3 M–L4

Students developskills for makingmusic individuallyand as part of anensemble.

Students developskills for makingmusic through aural,written, and visualmusic systems.

Studentsdemonstrateunderstanding ofand facility withrhythm, melody,texture, andharmony in a varietyof musical contexts.

Studentsdemonstrateunderstanding ofexpression, timbre,and form in a varietyof musical contexts.

Music Language and Performance Skills (M—L3) (continued)

Students demonstrate awareness and understanding of rhythm, melody, texture, and harmony in avariety of musical contexts.

Students who have achieved expectations for this grade are able to

Kindergarten Grade 1 Grade 2 Grade 3 Grade 4

Texture and Harmony

differentiate betweenindividual and combinedsounds (one instrumentversus two or more)

K M–L3.8

demonstrate understanding that the layering of sounds creates texture and/or harmony1–4 M–L3.8

demonstrate and identify various ways of creating texture and harmony in music1–4 M–L3.9

create simple rhythmicand harmonic texture inmusic

1 M–L3.10

use two or more layers ofsound to create simpletexture and harmony,demonstratingunderstanding ofcomplementary rhythms

2 M–L3.10

use several layers ofsound and increasinglycomplex patterns to createtexture and harmony

3 M–L3.10

identify and use chordchanges in two-chordsongs

4 M–L3.10

Appendix A: Rhythm, Melody, and Harmony

A Guide to Reading the Music Framework

M u S i c F r a M E w O r K c O M p O n E n T S a n d O r G a n i z a T i O n


Appendices:

Key concepts related to some

SLOs are explained in greater

detail in the appendices.

Codes:

The codes identify

n the target grade(s) in which

the SLO will be met

n the arts education

discipline

n the essential learning area

n the GLO

n the SLO

Example:

1–4 M–L3.8

1–4 Grade(s)

M Music discipline

L Essential learning area

3 GLO number

8 SLO number

Note:

Some SLO numbers do not

apply to all grades.

General learning outcomes

(GLOs):

Broad statements identify the

knowledge, skills, and

attitudes that students are

expected to demonstrate with

increasing competence and

confidence from Kindergarten

to Grade 8.

Specific learning outcomes

(SLOs):

The SLOs identify learning

expectations for students at

either a specific grade or a

range of grades.

Essential learning area:

Each essential learning area

begins with a statement of the

overall learning intent of the

area or highlighted wing of the

butterfly.

Music Language and Performance Skills

DEVELOP YOUR MUSIC “TOOLBOX”

Students develop understanding of and facility with elements, concepts, and techniques

for making music.



Students develop skills

for making music

individually and as part of

an ensemble.

Students develop skills

for making music through

aural, written, and visual

music systems.

Students demonstrate

understanding of and

facility with rhythm,

melody, texture, and

harmony in a variety of

musical contexts.


understanding of

expression, timbre, and

form in a variety of

musical contexts.

SPECIFIC LEARNING OUTCOMES


Kindergarten to Grade 4

Grades 5 to 8


Grades 5 to 8


Grades 5 to 8


Grades 5 to 8





Grades 5 to 8


Grades 5 to 8


Grades 5 to 8


Grades 5 to 8


Music Language and Performance Skills (M—L1)

Students develop skills for making music individually and as part of an ensemble.



discover own singing voice

and sing, alone and with

others, a varied repertoire

of grade-appropriate

musicK M–L1.1

match pitch with some

accuracy (e.g., so, mi, la)

and sing, alone and with

others, a varied repertoire


music1 M–L1.1

match pitch with

increasing accuracy and

sing expressively, using

simple textures (e.g.,

canon, ostinato)2 M–L1.1

match pitch and sing with

accurate rhythm and

expressive qualities, using

increasingly complex

textures (e.g., partner

songs, two-part singing)3 M–L1.1

sing expressively,

matching pitch and using

proper breath support,

vowel sounds,

consonants, and tone

production4 M–L1.1

explore and experiment

with sounds from body

percussion, instruments,

and other sound sourcesK M–L1.2

select and use sounds to

accompany self with

simple pitched and non-

pitched instruments and

body percussion1 M–L1.2

play a variety of

instruments alone and in

an ensemble, following the

directions of a conductor2 M–L1.2

play a variety of instruments with increasing

expressiveness and accuracy, demonstrating proper

technique3–4 M–L1.2

perform parts accurately within the beat in an ensemble3–4 M–L1.3

improvise answers to given rhythmic and melodic fragments or phrasesK–2 M–L1.6

improvise simple rhythmic and melodic questions,

answers, and variations3–4 M–L1.6

improvise simple rhythmic and melodic patterns and ostinatosK–2 M–L1.7

use movement to explore music concepts, enhance music making, and express ideas (e.g., use movement to show high and low, steady beat)K–4 M–L1.8

demonstrate appropriate interpersonal skills for making music collectivelyK–8 M–L1.9


Students develop skills for making music individually and as part of an ensemble.


Grade 5 Grade 6 Grade 7 Grade 8

sing and/or play in tune, with increasing control and accuracy, a sense of phrasing, and musical expression, while maintaining own part within an

ensemble5–8 M–L1.1

demonstrate understanding of balance and blend in an ensemble5–8 M–L1.3

play and/or sing with harmonic independence 7–8 M–L1.4

demonstrate correct posture, playing position, breath control, articulation, diction, intonation, and appropriate technique and control of

instrument or voice5–8 M–L1.5

demonstrate understanding of and facility with a variety of tools for improvising simple melodies and instrumental pieces5–8 M–L1.6

demonstrate appropriate interpersonal skills for making music collectivelyK–8 M–L1.9


Students develop skills for making music through aural, written, and visual music systems.



play and sing by ear, reproducing simple melodies, rhythms, and accompanimentsK–4 M–L2.1

discover ways to record

and interpret patterns

using invented music

notationK M–L2.2

read, write, and identify grade-appropriate rhythmic and melodic patterns using invented and standard music

notation1–4 M–L2.2

use invented music notation to represent sounds and/or sound stories1–4 M–L2.3

respond appropriately to non-verbal cues and gestures when making musicK–8 M–L2.4


Students develop skills for making music through aural, written, and visual music systems.



play and/or sing by ear, reproducing melodies, rhythms, accompaniments, and harmonies with increasing accuracy, complexity, and expression5–8 M–L2.1

read, write, and perform from music notation, as required for playing and/or singing a variety of repertoire5–8 M–L2.2

use standard and invented rhythmic and melodic notation and expressive symbols and terms to record own and others’ musical ideas 5–8 M–L2.3

respond appropriately to non-verbal cues and gestures when making musicK–8 M–L2.4


Students demonstrate awareness and understanding of rhythm, melody, texture, and harmony in a

variety of musical contexts.



Rhythm

respond to and, with

guidance, perform a

steady beat and grade-

appropriate rhythmic

patterns in a variety of

metresK M–L3.1

recognize, identify, and

perform with others a

steady beat and a variety


rhythmic and accent

patterns in a variety of

metres1 M–L3.1

perform a steady beat and

a variety of grade-

appropriate rhythmic and

accent patterns with

increasing independence,

and demonstrate

awareness of metre2 M–L3.1

perform and respond to a

steady beat and grade-

appropriate rhythmic

patterns independently,

and identify and respond

to simple, duple, and triple

metres3 M–L3.1

perform and demonstrate

understanding of

increasingly complex

rhythmic and metric

concepts (e.g.,

syncopation, compound

metres)4 M–L3.1


continued






Melody

respond to, describe, and

reproduce simple changes

in pitch and melodic

directionK M–L3.3

describe and reproduce changes in pitch, melodic

contour, and simple melodies1–2 M–L3.3

describe and reproduce increasingly complex melodies 3–4 M–L3.3

demonstrate understanding of melodic design (e.g., home tone, step-wise motion,

melodic contour)2–4 M–L3.4

demonstrate understanding that melodies are created

from a particular set of tones (modes)3–8 M–L3.5

demonstrate understanding that melodic relationships

can be transposed to different tonal centres 3–8 M–L3.6

identify the difference between major and minor modes3–4 M–L3.7


continued






Texture and Harmony

differentiate between

individual and combined

sounds (one instrument

versus two or more

instruments)K M–L3.8

demonstrate understanding that the layering of sounds creates texture and/or harmony1–4 M–L3.8

demonstrate and identify various ways of creating texture and harmony in music1–4 M–L3.9

create simple rhythmic

and harmonic texture in

music1 M–L3.10

use two or more layers of

sound to create simple

texture and harmony,

demonstrating

understanding of

complementary rhythms2 M–L3.10

use several layers of

sound and increasingly

complex patterns to create

texture and harmony3 M–L3.10

identify and use chord

changes in two-chord

songs4 M–L3.10







Rhythm

perform and demonstrate understanding of a variety of metric concepts (e.g., simple, compound, duple, triple, quadruple, irregular, and mixed

metres)5–8 M–L3.1

perform rhythmic patterns accurately, based on combinations of known durations 5–8 M–L3.2


continued






Melody

describe and perform increasingly complex melodies5–8 M–L3.3

demonstrate understanding of melodic design (e.g., home tone, step-wise motion, skips and leaps, octaves, melodic contour) as appropriate to

classroom repertoire 5–8 M–L3.4

demonstrate understanding that melodies are created from a particular set of tones (modes)3–8 M–L3.5

demonstrate understanding that melodic relationships can be transposed to different tonal centres 3–8 M–L3.6

distinguish between major and minor tonalities 5–6 M–L3.7

demonstrate understanding of distinguishing characteristics of a

variety of scales and modes (e.g., diatonic major and minor, chromatic,

whole-tone, blues) 7–8 M–L3.7


continued






Texture and Harmony

identify and demonstrate various ways of layering sounds to create texture and harmony (e.g., homophonic and polyphonic music, two-, three-,

and four-part harmony, various harmonic progressions, non-pitched music) 5–8 M–L3.8



Students demonstrate understanding of expression, timbre, and form in a variety of musical contexts.



Expression

explore and experiment

with grade-appropriate

elements of musical

expressionK M–L4.1

use and identify grade-appropriate elements of musical expression1–4 M–L4.1

Appendix B: Expression

Timbre

demonstrate awareness of

sounds in the natural

world and explore and

experiment with a variety

of timbres in voice and

instrumentsK M–L4.2

describe characteristics of a wide variety of sounds

(include: sounds from the natural world and musical

instruments)

1–2 M–L4.2

identify, describe, and classify a wide variety of sounds

from the natural and constructed environment (e.g.,

instruments used by various cultures in Manitoba and

countries around the world, orchestral instruments,

electronic instruments and sound sources) 3–8 M–L4.2

Appendix C: Timbre

Form

recognize, reproduce, and

create musical patterns

(e.g., same, different,

repeated) K M–L4.5

use, identify, and describe grade-appropriate musical forms1–6 M–L4.5

Appendix D: Form


Students demonstrate understanding of expression, timbre, and form in a variety of musical contexts.



Expression

use and identify grade-appropriate elements of musical expression5–8 M–L4.1


Timbre

identify, describe, and classify a wide variety of sounds from the natural and constructed environment (e.g., instruments used by various cultures

in Manitoba and countries around the world, orchestral instruments, electronic instruments and sound sources)3–8 M–L4.2

identify and use various vocal and/or instrumental timbres from diverse

Canadian and world cultures (e.g., traditional folk, popular, choral and

instrumental repertoire)7–8 M–L4.3

demonstrate understanding of appropriate use of the changing male and female voices in music5–8 M–L4.4

Appendix C: Timbre

Form

use, identify, and describe grade-appropriate musical forms1–6 M–L4.5

use, identify, and describe a variety of musical forms (e.g., march,

suite, programmatic music, 12-bar blues, symphonic forms, operetta,

opera) through listening and performance, as appropriate7–8 M–L4.5

Appendix D: Form


M–C1 M–C2 M–C3


Grades 5 to 8


Grades 5 to 8


Grades 5 to 8

Creative Expression in Music

IMAGINE, PERFORM, COMPOSE

Students collaboratively and individually generate, develop, and communicate ideas in

creating original and interpretive music for a variety of purposes and audiences.



Students generate and use

ideas from a variety of

sources for creating music.

Students develop ideas in

music, creatively integrating

music elements, techniques,

and compositional tools.

Students interpret, perform,

and share their own and

others’ music.





Grades 5 to 8


Grades 5 to 8


Grades 5 to 8


Creative Expression in Music (M—C1)

Students generate and use ideas from a variety of sources for creating music.



experiment constructively with grade-appropriate music elements, concepts, and

techniques to create musical patterns, themes, and/or motifsK–2 M–C1.1

search for and discover ideas, themes, and/or motifs for

music making through experimentation, improvisation,

and/or play with music elements, concepts, and

techniques3–4 M–C1.1

experiment with music to communicate ideas derived from a variety of stimuli (e.g.,

visual stimuli such as artworks or an aquarium; a remembered or an imaginary

experience; a poem or a story; music-listening experiences; themes or concepts from

other subject areas)K–2 M–C1.3

identify, explore, and select ideas from a variety of

sources as a starting point for music creation3–4 M–C1.3


Students generate and use ideas from a variety of sources for creating music.



generate multiple ideas for music making through constructive experimentation with music and sound5–8 M–C1.1

demonstrate understanding of experimentation and improvisation as a valuable component of the music-making process 5–8 M–C1.2

generate multiple ideas, themes, and/or motifs for music making from personally meaningful and relevant sources (e.g., feelings, memories,

imagination, observations, associations; learning in other subject areas; cultural traditions; personal responses to current events, social and

environmental issues, media and technology)5–8 M–C1.3

generate and extend ideas for music making in response to own analyses of music5–8 M–C1.4

collect and explore a wide range of resources (e.g., sound recordings, visuals, stories, poems) for stimulating and developing own musical ideas5–8 M–C1.5


Students develop ideas in music, creatively integrating music elements, techniques, and compositional

tools.



select and organize, with teacher guidance, sounds and/or musical ideas as a class,

as a group, or individually (e.g., make patterns with a low and a high sound, choosing

from a range of instruments and sound sources)K–2 M–C2.1

select, organize, and use, with increasing

independence, a combination of sounds and/or musical

ideas for composing and arranging musical pieces (e.g.,

select, refine, and organize motifs, choose form,

dynamics, tempo, articulation)3–4 M–C2.1

describe decisions about the selection and use of music elements, techniques,

expressive devices, forms, and principles of composition in own ongoing workK–2 M–C2.2

explain own decisions about the selection and use of

music elements, techniques, expressive devices, forms,

and principles of composition in own ongoing work3–4 M–C2.2

demonstrate a valuing of risk taking as a component of the creative process (e.g., take risks, support the risk taking of others) K–8 M–C2.3

incorporate serendipitous discoveries into own music-making process, as appropriateK–4 M–C2.4

collaborate with others to develop and extend musical ideas K–8 M–C2.5


Students develop ideas in music, creatively integrating music elements, techniques, and compositional

tools.



select, organize, and use a combination of ideas, elements, and techniques for composing and arranging musical pieces (e.g., select, refine,

and organize motifs, choose form, dynamics, tempo, articulation)5–8 M–C2.1

use a variety of compositional tools (e.g., variety, repetition, tension and release, transition) in own music compositions5–8 M–C2.2

demonstrate a valuing of risk taking as a component of the creative process (e.g., take risks, support the risk taking of others)K–8 M–C2.3

recognize serendipitous discoveries and incorporate them into own music-making process, as appropriate5–8 M–C2.4

collaborate with others to develop and extend musical ideas K–8 M–C2.5


Students interpret, perform, and share their own and others’ music.



make interpretive musical decisions, using variations of expressive devices (e.g.,

tempo, dynamics, articulation, tone colour)K–2 M–C3.1

make interpretive musical decisions, demonstrating

understanding of a variety of ways in which expressive

devices can be used3–4 M–C3.1

rehearse music to perform for others, with teacher guidanceK–2 M–C3.3

rehearse, revise, and refine music to perform for others,

with increasing independence, keeping in mind the

composer’s intent and the audience3–4 M–C3.3

make appropriate decisions as to whether own work is

“finished”3–8 M–C3.4

share own musical ideas, compositions, and interpretations with others through performances, composition portfolios, and/or sound/video

recordingsK–4 M–C3.5


Students interpret, perform, and share their own and others’ music.



make interpretive musical decisions, demonstrating an integrated understanding of expressive devices and music elements5–8 M–C3.1

sing or play responsively, demonstrating an awareness of the musical intent of the ensemble5–8 M–C3.2

rehearse, revise, refine, and share own and others’ music5–8 M–C3.3

make appropriate decisions as to whether own work is “finished”3–8 M–C3.4

collaborate with others to select, present, and share own and others’ individual and group works of music through performances, composition

portfolios, and/or recordings 5–8 M–C3.5


M–U1 M–U2 M–U3


Grades 5 to 8


Grades 5 to 8


Grades 5 to 8

Understanding Music in Context

WHO, WHERE, WHEN, AND WHY MUSIC?

Students connect music to contexts of time, place, and community, and develop

understanding of how music reflects and influences culture and identity.



Students experience and

develop awareness of music

from various times, places,

social groups, and cultures.

Students experience and

develop awareness of a

variety of music genres,

styles, and traditions.


understanding of the roles,

purposes, and meanings of

music in the lives of

individuals and in

communities.





Grades 5 to 8


Grades 5 to 8


Grades 5 to 8


Understanding Music in Context (M—U1)

Students experience and develop awareness of music from various times, places, social groups, and

cultures.



perform, listen to, and demonstrate awareness of music representative of different

times and places

(include: music from cultures represented within the school community and from a

variety of male and female composers)

K–2 M–U1.1

perform, listen to, describe, and compare music

representative of different times, places, social groups,

and cultures

(include: music from past and present and from global,

Canadian, and Manitoban cultures, including First

Nations, Inuit, and Métis)3–4 M–U1.1

identify, share, and talk about examples of music experienced at home, at school, and in the communityK–4 M–U1.2

demonstrate awareness of musicians in and from own communityK–2 M–U1.3

demonstrate awareness of musicians from own

community, Manitoba, Canada, and various global

contexts3–4 M–U1.3


Students experience and develop awareness of music from various times, places, social groups, and

cultures.



identify, describe, and compare music experienced from different times, places, social groups, and cultures

(include: music from past and present and from global, Canadian, and Manitoban cultures, including First Nations, Inuit, and Métis)5–8 M–U1.1

identify, share, and discuss examples of music experienced through live performances and through various media5–8 M–U1.2

demonstrate awareness of the contributions of a variety of composers and musicians from own community, Manitoba, Canada, and various

global contexts5–8 M–U1.3


Students experience and develop awareness of a variety of music genres, styles, and traditions.



demonstrate awareness that there are many different kinds of musicK–4 M–U2.1

demonstrate understanding that musical works can be categorized according to common characteristicsK–4 M–U2.2

recognize that music is an art form, along with dance, drama, literary arts, and visual artsK–4 M–U2.3


Students experience and develop awareness of a variety of music genres, styles, and traditions.



identify and characterize a variety of music genres and styles5–8 M–U2.1

demonstrate awareness of general characteristics of music within groups (e.g., cultural, social, historical contexts)5–8 M–U2.2

describe and compare qualities of different art forms (e.g., dance, drama, literary arts, music, visual arts) within similar social, cultural, or

historical groups5–8 M–U2.3


Students demonstrate understanding of the roles, purposes, and meanings of music in the lives of

individuals and in communities.



identify when and why people use music in daily lifeK–2 M–U3.1

describe a variety of purposes and roles for music in

daily life, in own community and in other places and

times3–4 M–U3.1

demonstrate awareness of the meanings and/or purposes (e.g., for relaxing, working, dancing, celebrating) of music encountered in own

performance and listening experiences K–4 M–U3.3

demonstrate appreciation of music as a means of experiencing and exploring own and others’ lives (e.g., feelings, beliefs, stories, events,

cultures) K–4 M–U3.4

demonstrate awareness that different groups of people have their own characteristic music

(ideally, this awareness extends to the music of own cultural or social groups)K–4 M–U3.5

engage and/or interact appropriately as participants, audience members, and performersK–4 M–U3.7


Students demonstrate understanding of the roles, purposes, and meanings of music in the lives of

individuals and in communities.



demonstrate understanding of the multiple roles and purposes of music in society (e.g., for enjoyment, persuasion, social commentary, mood

creation, spiritual experience, dancing)5–8 M–U3.1

examine and explain own purposes for making music5–8 M–U3.2

demonstrate awareness of the intended meanings and/or purposes of music encountered in own performance and listening experiences5–8 M–U3.3

demonstrate appreciation of music as a means of experiencing the world and understanding the perspectives of others5–8 M–U3.4

demonstrate understanding of ways in which music reflects and influences the identity of individuals and groups5–8 M–U3.5

demonstrate awareness of the impact of context on musicians and their music (e.g., consider personal, social, cultural,

geographical/environmental, historical contexts)5–8 M–U3.6

demonstrate behaviours and attitudes appropriate for performers and audience members in a variety of music settings and contexts5–8 M–U3.7

describe a variety of music-related careers5–8 M–U3.8


M–V1 M–V2 M–V3 M–V4


Grades 5 to 8


Grades 5 to 8


Grades 5 to 8


Grades 5 to 8

Valuing Musical Experience

LISTEN, REFLECT, RESPOND

Students analyze, reflect on, and construct meaning in response to their own and others’

music.




interest, curiosity, and

engagement while

making and experiencing

music in a variety of

contexts.

Students analyze their

own and others’ musical

excerpts, works, and

performances.

Students form personal

responses to and

construct meaning from

their own and others’

music.

Students assess their

learning in performing,

creating, and

experiencing music.





Grades 5 to 8


Grades 5 to 8


Grades 5 to 8


Grades 5 to 8


Valuing Musical Experience (M—V1)

Students demonstrate interest, curiosity, and engagement while making and experiencing music in a

variety of contexts.



participate actively in music learning experiencesK–4 M–V1.1

ask relevant questions and contribute to discussions in music learning experiencesK–4 M–V1.2


Students demonstrate interest, curiosity, and engagement while making and experiencing music in a

variety of contexts.



engage consistently and constructively in music learning experiences5–8 M–V1.1

generate relevant questions and contribute thoughtfully to discussions in music learning experiences5–8 M–V1.2


Students analyze their own and others’ musical excerpts, works, and performances.



describe, with teacher guidance, own and others’ musical excerpts and/or works in

terms of grade-appropriate concepts (e.g., identify fast and slow parts, high and low

sounds, a steady beat)K–2 M–V2.1

describe and analyze own and others’ musical excerpts,

works, and/or performances in terms of grade-

appropriate music concepts (e.g., tempo, dynamics,

pitch, timbre), using appropriate music vocabulary3–4 M–V2.1

demonstrate understanding that noticing details enhances own thinking about music, as well as appreciation, performance, and creation of

musicK–4 M–V2.2


Students analyze their own and others’ musical excerpts, works, and performances.



describe and analyze own and others’ musical excerpts and/or works

in terms of relevant concepts, using appropriate music vocabulary

(e.g., How are individual elements—tempo, dynamics, pitch, and/or

timbre—used in the music?)5–6 M–V2.1

analyze and demonstrate an integrated understanding of own and

others’ musical excerpts and/or works in terms of relevant concepts

(e.g., How do the different elements—tempo, dynamics, pitch, timbre,

form, style, rhythmic elements, and/or texture—contribute to the

meaning of the music? How do they contribute to musical decision

making?) 7–8 M–V2.1

demonstrate understanding that detailed observation, listening, and reflection inform musical thinking, appreciation, performance, and creation5–8 M–V2.2

participate in identifying and using appropriate criteria to discuss the quality and effectiveness of own and others’ music (e.g., considering intent,

style, genre, historical and/or cultural contexts)5–8 M–V2.3


Students form personal responses to and construct meaning from their own and others’ music.



reflect on and share personal responses (e.g., feelings,

thoughts, images) evoked by various pieces of music

and music-making experiencesK–1 M–V3.1

reflect on, share, and explain personal responses (e.g., feelings, thoughts, images)

evoked by various pieces of music and music-making experiences2–4 M–V3.1

describe and give reasons for own preferences regarding music experienced through performance and listeningK–4 M–V3.2

respect and acknowledge that individuals may have different interpretations and preferences regarding musical

works and experiences1–8 M–V3.3

demonstrate appreciation for a variety of music and music-making experiencesK–4 M–V3.4


Students form personal responses to and construct meaning from their own and others’ music.



share and justify interpretations of own and others’ music (e.g., share personal responses, analyze music, explain what and how the music is

communicating, using evidence to support opinions) 5–8 M–V3.1

share and justify own preferences for music experienced through performance and listening, using appropriate music vocabulary5–8 M–V3.2

respect and acknowledge that individuals may have different interpretations and preferences regarding musical works and experiences1–8 M–V3.3

respect and value a wide range of music and music-making experiences5–8 M–V3.4


Students assess their learning in performing, creating, and experiencing music.



participate in discussing and establishing criteria for successful participation in music learning experiences (e.g., criteria for an effective

audience, a grade-appropriate quality performance with a particular instrument, a quality singer’s actions and sound)K–4 M–V4.2

reflect on and describe own processes in performing

and creating musicK–1 M–V4.3

reflect on and describe own processes in performing and creating music, and use

music vocabulary appropriately to describe what worked well, problems encountered,

and solutions found2–4 M–V4.3

compare own learning in music to identified learning goals and criteriaK–4 M–V4.4


Students assess their learning in performing, creating, and experiencing music.



demonstrate understanding of learning goals for music-making experiences (e.g., We are working on . . . , I am trying to . . . )5–8 M–V4.1

collaborate in establishing appropriate criteria for assessing and guiding own learning in music (process and product)5–8 M–V4.2

provide and respond to constructive feedback based on appropriate criteria for assessing musical experiences5–8 M–V4.3

assess own music-making process and product using appropriate assessment criteria and tools5–8 M–V4.4

establish, reflect on, and reassess personal and group goals for extending learning in music5–8 M–V4.5

Appendices

INTRODUCTION

The appendices in the Music Framework provide developmentally appropriate supports

related to key concepts identified in selected specific learning outcomes. The following

appendices provide support for developing skills and understandings related to rhythm,

melody, and harmony, expression, timbre, form, and choreography:



Appendix C: Timbre

Appendix D: Form

Although a grade-appropriate sequence of knowledge and skill development is

suggested, these concepts and skills are understood to be part of a continuum of music

learning, with entry points that will depend on the backgrounds and previous

experiences of individual learners and on the meaningful context of the learning. Skills,

knowledge, and conceptual understandings suggested for one grade are also important

for subsequent grades. Learning in music is understood to be recursive; music

language, tools, skills, and conceptual understandings grow deeper, richer, more

sophisticated, and more complex over time and through experience.


K to 2 3 to 8


K to 2 3 to 8


Kindergarten Grade 1 Grade 2

Beat, Rhythm,

and Metre

n steady beatn sound vs. silence

n difference between beat and rhythm

n long and short sounds n quarter noten two eighth notesn quarter rest

n half noten whole noten half restn whole restn tie

n performance in a variety of metres

(e.g., 6/8, 4/4, 2/4, 3/4)

n strong and weak beats (metric

accents)n 2/4 metren bar lines

n 4/4 metre

Melody and

Pitch

n speaking vs. singing voicen high and low

n so-mi*n so-mi-la

n do1, la, so, mi, re, do

n contours: ascending and

descending

n contours: skip, step, and repeated

tones

n do pentatonic scale

Texture and

Harmony

n unison n harmony of a fifth (e.g., solid

bordun)n ostinato (vocal and instrumental)

n harmony vs. unisonn two-part canonn two parts (speech, singing,

instruments)

* Reference

Choksy, L., and Z. Kodály. The Kodály Context: Creating an Environment for Musical Learning. Englewood Cliffs, NJ: Prentice-Hall, 1981. 9.


Grade 3 Grade 4 Grade 5 Grade 6 Grades 7 and 8

Beat, Rhythm,

and Metre

n dotted half noten sixteenth noten triplet

n syncopation

(e.g., eighth-

quarter-eighth

pattern) n eighth rest

n sixteenth and eighth note combinationsn dotted quarter-eighth patternn dotted eighth-sixteenth pattern

These key concepts

are explored in

greater depth and

breadth and in

increasingly

sophisticated ways in

Grades 7 and 8.n 3/4 metre n 6/8 metre n irregular metre

(5/4, 7/8, 5/8)

Melody and

Pitch

n do1, la, so, mi,

re, do, la1, and

so1

n fa and ti

n la pentatonic

scalen tonal centre

(e.g., home tone

C, F, G, D)

n major diatonic

(lonian mode)n minor diatonic

(Aeolian mode)n key signatures

(C major, A minor)

n major and minor

diatonic scalesn keys of C, F, G, D

major and A and D

minor

n variety of modes

and scales

(e.g., blues scale,

Dorian, Mixolydian,

and Phrygian

modes, whole

tone, chromatic

scale)

Texture and

Harmony

n partner songs n I – V, i – vn major and minor

chords

n I – IV – Vn diverse harmonic progressions (e.g., i – ii,

I – iii, I – vi, I – vii; 12-bar blues)



Tempo n fast and slown becoming faster and becoming slowern degrees of fast and slown tempo related to expressionn largo, andante, and allegron ritardando and accelerandon a tempo

Dynamics n loud and quietn becoming louder and becoming quietern degrees of loud and softn crescendo and decrescendon pianissimo (pp), piano (p), mezzo-piano (mp), mezzo-forte (mf), forte (f), fortissimo (ff)n dynamics related to expression

Articulation n detached vs. smoothn legato and staccaton slurn accent

Appendix C: Timbre


Timbre includes a variety of vocal, body, instrumental, electronic, digital, and found object timbres (tone colours) and sounds for discrimination,

classification, music making, and creative expression:

n vocal timbres (e.g., whispering, speaking, singing, shouting, male, female, teacher, and student voices)

n body percussion and sounds (e.g., snap, clap, patsch, stamp)

n non-pitched percussion sounds (e.g., metal, wood, and skin/membrane instruments, shakers, scrapers, ringers, single- or double-pitched

instruments struck with beaters, strikers—instruments may fall into more than one category)

n pitched percussion instruments (e.g., glockenspiel, xylophone, metallophone, bass bars)

n guitar, recorder, band, and orchestral instruments and families

n world and indigenous instruments (e.g., djembe, didgeridoo, balalaika, sitar, bagpipes, kulintang, native American flute, frame drums, cedar

box drums)

n electric instruments (e.g., electric guitar, bass, violin)

n electronic and digitally produced sounds and sound sources (e.g., synthesizer, computer-produced sounds, sounds produced by new,

emerging, modified, and combined technologies)

n found-object sound sources (e.g., from nature, local environments, classroom, home)

n ways in which sound is produced (e.g., struck, shaken, blown, bowed, plucked)

n sources for creating unique timbres (e.g., construction material, size or shape of sound source, playing techniques, modifications to acoustic

sound sources, recording techniques, electronically or digitally altered sounds)

n terminology and vocabulary to describe sound sources (e.g., rough, metallic, ringing, muted)

Appendix D: Form

Kindergarten to Grade 2 Grades 3 to 8

Form n same vs. differentn phrasen long and short phrasesn ABn ABAn rondo form (ABACA . . . )n introductionn interluden codan canon

n four-bar phrase n first and second endingsn da capon dal segnon variety of extended forms (e.g., 12-bar blues,

verse-chorus-bridge, call and response, chaconne,

theme and variations, fugue, through-composed music)

G L o S S A R y

The following terms are provided for clarification and understanding of selected terminology used in Manitoba’s Kindergarten to Grade 8 music curriculum

and resources. These terms are not intended to be exhaustive. Educators are encouraged to consult the recommended music resources for additional and

alternative terminology.


12-bar blues

An African-American song form characterized by a 12-bar structure

in 4/4, use of blues notes, three-line verses, and I–IV–V harmonic

progression (I–I–I–I; IV–IV–I–I; V–IV–I–I).

ABA form

A sequential compositional form with three distinct parts in which a

music theme (A) is followed by a contrasting but related music

theme (B) and ends with a repeat of the initial music theme (A).

AB form

A sequential compositional form with two distinct parts in which a

music theme (A) is followed by a contrasting but related music

theme (B).

accelerando

A gradual increase in tempo, resulting in getting faster.

accent

A note performed with emphasis or stress.

allegro

A lively and quick tempo.

andante

A moderate tempo or walking pace.

articulation

A performance technique affecting the musical line by the way

notes are attacked and spaces are formed between notes. The two

basic articulations are legato and staccato.

ascending contour

The shape of a melody established by its upward movement.

a tempo

Return to the original tempo.

aural music system

A rote process for learning music by listening and reproducing,

often described as learning by ear.

balance

Maintaining proper emphasis between parts of an ensemble.

beat

The underlying pulse of music.

blend

Merging and unifying parts within an ensemble.

body percussion

Use of the body to make sounds (e.g., snap, clap, patsch, stamp).

call and response

A sequential compositional form in which a lead musician calls or

performs a music phrase, while another musician or group

responds by imitating the same phrase or performing a related one.

canon

An overlapping compositional form in which two or more musicians

or groups imitate a melody after a given interval (e.g., four beats).

chaconne

A compositional form of Baroque origin consisting of variations built

upon a short, repeated harmonic progression.

coda

The concluding part of a music composition.

complementary rhythms

Interlocking layered rhythms that are related but contrasting (e.g.,

long sound durations in one part against short sound durations in

another).

crescendo

A gradual increase in dynamics, or getting louder.

da capo (DC)

A direction to perform again from the beginning.

dal segno (DS)

A direction to perform again from a sign indicated in a score ( ).

decrescendo (diminuendo)

A gradual decrease in dynamics, or getting quieter.

descending contour

The shape of a melody established by its downward movement.

diction

Clear articulation of words in speaking and singing through

effective pronunciation of vowels and consonants.

dynamics

The overall volume (loudness or quietness) of music.

first and second endings

Repeated sections of a music composition with two different

endings indicated by brackets and numbers in a score.

forms

Designs or structures for organizing music.

forte (f)

Loud dynamics.

fortissimo (ff)

Very loud dynamics.

fugue

An overlapping form in which a music theme is introduced and then

extended and developed by other parts after a given interval; like a

canon, but uses a more complex mix of counter-melodies.

genres

Broad categories of musical forms (e.g., popular, art, folk).

harmonic progressions

A series of chords.

harmony

A vertical element of music created by two or more pitches

sounding simultaneously.

homophonic music

Texture created by a melody with a chordal accompaniment; two or

more parts moving together rhythmically in a chordal style.

improvise

Making music “in the moment” with intent to explore.

interlude

A short section or bridge between two main sections of a music

composition.

intonation

Singing or playing in tune by producing accurate pitches.

introduction

The opening part of a music composition.

invented music notation

Non-standard sound-symbol representations.

irregular metre

Combinations of duple and triple metres resulting in metrical

patterns such as 5/4 (3 + 2/4) or 7/8 (4 + 3/8).

largo

A very slow tempo.

legato

A smooth, connected style of articulation.

melodic contour

The shape of a melody established by its upward, downward, or

horizontal movement.

melody

A horizontal element of music created by a sequence of pitches

resulting in a tune.

metre

A regular pattern of accented (stronger) and unaccented (weaker)

beats.

metric accents

Beats felt and heard in a metrical context that have a stronger

accent than others.

mezzo-forte (mf)

Moderately loud dynamics.

mezzo-piano (mp)

Moderately soft dynamics.

non-pitched instruments

Percussion instruments producing one or more indefinite pitches

used to perform rhythms.

ostinato

A short, repeated musical phrase or pattern often used as an

accompaniment.

partner songs

Two or more different songs sharing the same chord structure that

can be sung simultaneously to produce harmony.

pentatonic scale

A simple five-tone scale.

phrase

A music sentence or a series of sounds that connect and have a

clear beginning and end.

pianissimo (pp)

Very soft dynamics.

piano (p)

Soft dynamics.

pitch

The highness or lowness of a tone determined by its frequency.

pitched instruments

Instruments producing more than one definite pitch used to perform

melodies and/or harmonies.

polyphonic music

Texture created by two or more independent melodies performed

simultaneously.

release

The manipulation of one or more music elements to create a sense

of relaxation, resolution, or stability after building tension in music.

rhythm

The time element of music consisting of a sequence of sound

and/or silence durations.

ritardando

A gradual decrease in tempo, or getting slower.

rondo form (ABACA . . .)

A sequential compositional form with several distinct parts in which

a music theme (A) is alternated with contrasting music themes (B,

C, D . . .) and ends with a repeat of the initial music theme (A).

serendipitous discoveries

Imaginative, productive insights that happen by chance and

contribute to resolving creative problems.

slur

A curved line above or below notes in a score that are to be

performed legato.

staccato

A detached, disconnected style of articulation.

standard music notation

Written symbols for representing sounds widely used and

understood by musicians (e.g., staff lines, notes, rests, time and

key signatures).

style

Characteristic use of music elements producing distinctive ways of

making music identified with particular performers, composers,

cultures, or historical periods.

syncopation

The rhythmic effect produced by unexpectedly shifting accents from

strong to weak beats.

tempo

The overall pace or speed of music.

tension

The manipulation of one or more music elements to create points of

intensity, suspense, or instability in music.

texture

The fabric of music created by layering and interrelating rhythms,

melodies, harmonies, and/or timbres.

theme and variations (A1A2A3A4 . . .)

A sequential compositional form with several distinct parts in which

a music theme (A) is repeated in modified forms (e.g., altering the

style, tempo, rhythm, scale).

timbre

The tone colour or distinctive quality of a sound source.

traditions

Music of a culture passed, over time, from one generation to

another.

transition

A compositional feature that contributes to the continuity of music

by ensuring smooth connections between its parts.

verse-chorus

A song in which the main section (verse) is followed by a refrain

(chorus); the chorus is repeated after every verse.

verse-chorus-bridge

An extension of the verse-chorus form that incorporates one or

more interludes.

visual music systems

Systems using graphic, pictorial symbols or gestures, such as

shapes, colours, and/or icons, to represent sounds.

written music systems

Systems using written symbols, such as those used in standard

notation, to represent sounds.

B i B l i o g r a p h y

The bibliography can be found in the print version of this pDF file.


ki de ga e g ade 8 m ic · 2013-01-23 · essential learning areas and general learning outcomes...

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